Daniel Savage & Wondersauce: Yule Log 2.0

yulelog2
Yule Log 2.0 re-imagines the traditional Yule Log through a collection of 53 short films by illustrators, animators, directors, and creative coders. First televised in 1966 by WPIX-TV as a gift to viewers, the Log has since burned itself into our hearts.

Yule Log 2.0 is a project curated by Daniel Savage and built by Wondersauce. In total, 65 artists participated in the project.

Yule Log 2.0 Artists
Alicia Reece
Andrew Stubbs Johnston
Animade
Benjamin Gray
Bianca Meier
Brian & Brad Hasse
Brett Renfer
Cesar Pelizer
Charlie Whitney
Chris Lohouse
Chris Kelly
Conrad McLeod
Colin Hesterly
Damien Correll
Daniel Leyva
David Kamp (Sound design)
DIA
Emory Allen
Erica Gorochow
Eric Epstein
Erik Karasyk
Frank Chimero
 
Greg Gunn
Hush Studios
James Curran
James Zanoni
Jeroen Krielaars
Jesse Benjamin
Jerry Liu
JK Keller
Joe Russ
Jordan Bruner
Josh Parker
Joshua Catalano
Joshua Goodrich
Jorge R. Canedo Estrada
Julian Glander
Keetra Dean Dixon
Kyle Sauer
Laura Alejo
Lee Gingold
Leta Sobierajski
Lucas Redfern Brooking
Lucas Zanotto
 
Mathew Lucas
Matthias Hoegg
Matt Delbridge
Michael Fuchs
Nick Hum
Patrick Finn
Patrick Macomber
Paul Windle
Philip Sierzega
Robert Loebel
Ross Philips
Salih
Script & Seal
Seth Hulewat
Shane Griffin
Skip Hursh
Tricia Desjardins
Will Anderson
Yassir Rasan
Yussef Cole
Yvonne Romano

 
Daniel was kind enough to share more about the creation of the project, including the original brief. Read about it after the jump!


How long did it take to get the project up and running?

The idea came about mid October, I ran it by a few friends with positive feedback, then started taking it serious shortly after, so just over a month.

How did you find/select/approach the artists for the project?

Rule number one for me was keeping it diverse. A lot of community projects tend to stick within their own niche industry, which has great results, but I wanted it to be more broad. I encouraged collaboration which is why there were more artists than submissions. And I specifically invited a lot of people who don’t animate professionally, which was the most exciting part for me. Inspiring people to take a stab at animation who don’t do it normally makes me really happy.

How’d you hook up with Wondersauce and what went into developing the backend?

I grew up with John Sampogna, one of the founders, the first time I got drunk was with him. It was dumb luck that we ended up with talents that compliment each other. Eric Mayville headed up the site with a developer. The biggest hurtle was figuring out how to take advantage of Vimeo’s API and play all 53 videos in a continuous smooth loop, but using black magic and this thing called “code” they figure it out!

Do you have any advice for people who are trying to carve out time for personal projects outside of their professional work?

I feel like I say to friends “Thanks for the invite, but…” a lot due to personal projects. You have to want it. If you want it, you will find the time. Also being freelance helps!

Some of the most interesting contemporary works have been self-initiated curation projects (PSST…Pass It On, Late Night Work Club, Sound Creatures, Animation Sequence Project, Loopdeloop, etc.). Do you have any advice for people who would like to start their own curation projects?

I think if the idea is good enough, and there is some sort of proof you will deliver, people will respond. When I wrote up my brief it felt similar to giving my students an assignment. As professionals we miss those fun school assignments where we can experiment without a client. Personal projects are great, but having a micro brief to react to sparks ideas you might not normally come up with.

What do you think makes a successful brief?
I guess what makes a successful brief is being clear and solving a problem (in this case, the lack of fun Yule Logs) I also put together a FAQ after I got some questions, which helped a lot, especially since there was some language barriers with the international group.

Yule Log 2.0 Brief
Yule Log 2.0 FAQ

What’s coming next for Yule Log 2.0?
If there is enough interest, this may become an annual tradition.

The project will be screened at Big Screen Plaza on rotation throughout the winter, as well as being projected on the Manhattan Bridge in DUMBO nightly from December 12th till the 23rd (shout out to HUSH for hooking this up)

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Michael Fragstein: Boozoo Bajou “Jan Mayen”


Stuttgart-based Michael Fragstein created this music video for Boozoo Bajou’s Jan Mayen. Inspired by a volcanic island in the Arctic Ocean, landscape and weather maps, the animation uses a kind reverse-stratacut approach to explore flowing lava-like animation.

Credits
Boozoo Bajou – boozoobajou.com
Apollo Records – apollorecordings.tumblr.com
Directed by Michael Fragstein at Büro Achter April

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in/out: Mt. Wolf “Midnight Shallows”


London-based in/out (aka Jean-Philippe Blunt & Thom Humphreys) explore the world of chronophotography and Étienne-Jules Marey in this music video for Mt. Wolf’s Midnight Shallows. I love the video’s restraint and balance, lovingly reveling in each unique motion. The later shots that composite the dancer and echoed ribbon are particularly lovely.

For more chronophotography love, check out Norman Maclaren’s Pas de deux, Michael Langan’s Choros and Mass Market’s Nike “Human Chain”. Or roll your own in processing.

Hat tip to Promonews.


Credits
Directors/Editors: in/out (Jean-Philippe Blunt & Thom Humphreys)
Director Of Photography: Rina Yang
Head of music: Natalie Arnett @ JJ Stereo
Producer: Oliver Samuel @JJ Stereo
Manager: Keith Wozencroft @Third Rock Music
Female Dancer: Lily Grundy @The Royal Ballet
Male Dancer: Conal Francis-Martin @The Royal Ballet
Antique Camera: Sebastian Sussmann @Double Negative Darkroom
Bird Handler: Nigel King
Production Designer: Sean Leishman
Colourist/Online Editor: Toby Tomkins
Post Production Consultancy: Paul Gardner @JJ Stereo
Online Conform: Sam White & Joe Lovelock @The Whealhouse
Focus Puller: Karl Hui
Clapper-loader: Brendan Harvey
DIT: Joe Lovelock
Grip: James Roberts
Pre-light Gaffer: Rob White
Gaffer: Steve Garay
Bestboy: Elliot Beach
Sparks: Poom Saiyavath, Maikel Popic, Joel Judah Honeywell, Eduardo Dominicci
Runners: Ugne Ciesiunate, Declan Slattery, Saad Abbas, Hayley Dunn

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The Podium Waltz


Daniel Bruson directed this marvellous animation for the opening scene for “The Podium Waltz”, a short film about visually impaired brazilian runner Terezinha Guilhermina.

This scene follows the way her guide described the opening ceremony of the Paralympics to her, as they walked through the Olympic Stadium. For that I created about 1400 black and white watercolors, that were photographed and then composed and colored digitally. I tried to create this atmosphere where shapes and sounds emerge as they come to the character’s attention, and also to bring some of the joy and wonder of the moment.

Daniel was also responsible for this rather emotional animated scene for the film:

Update: Check out this nice making of as well.


The Podium Waltz

Direction
Daniel Hanai & Bruno Carneiro

Animation Direction
Daniel Bruson

Animation
Daniel Bruson
Francisco Beraldo
Ian Sampaio
Flávio de Paula
Leandro Franci

Compositing
Daniel Bruson
Francisco Beraldo
Leandro Franci

General Assistance
Rafael Moretti
Talita Annunciato

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Gergely Wootsch: Savages “Marshal Dear”


London-based Gergely Wootsch brings gorgeous Vonnegut-inspired visuals to this music video for the Savages’ Marshal Dear. Love the mix of 3D camera/environment and drawn 2D textures.

For more of Gergely’s work, check out The Hungry Corpse, This is Not Real and Ordæmonium.

Credits
Savages – ‘Marshal Dear’
savagesband.com

Designed and Animated by Gergely Wootsch
Additional Animation by Rosanna Wan – rosanna-wan.com
Produced by Beakus – beakus.com
Producer: Steve Smith
Commissioner: Big Dipper Productions

As imagined by Gemma Thompson and Gergely Wootsch.

matadorrecords.com
popnoire.com

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Nicolas Ménard: Somewhere

Director/Animator Nicolas Ménard brings us his new film: Somewhere.

With a unique style combined with the amazing music/sound design by Rich Vreeland, Somewhere takes us to a completely fresh universe of animation and storytelling.

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Giant Ant’s 2013 Motion Reel


What an inspiring reel by Giant Ant!

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“The Bear and The Hare” for John Lewis

UPDATE: The making of video is up, and it’s simply astounding:

The Making Of: The Bear & The Hare from Hornet Inc on Vimeo.

Yves Geleyn and Elliot Dear worked with the talented team at Hornet / Blinkink to produce this heartwarming story of The Bear and The Hare.

The style and content harkens back to classic English illustrated children’s books, and the campaign extends to other platforms such as interactive ebook, classic kids book and an Ipad app. I love the blend of 2D characters against the background which I’m guessing is a combination of miniature and 3D backgrounds.

From the press release: ‘The marriage of traditional hand-drawn 2D animation with stop-frame model animation creates a tangible world full of texture and detail that conveys the honesty behind the John Lewis Christmas message.’

Also a nice informative Guardian article about it here. 

Executive Producers
Bart Yates
Michael Feder
Producers
Bart Yates
James Stevenson Bretton
Josephine Gallagher
Line Producer
Kev Harwood
Production Manager
Benjamin Lole
2D Animation
Premise Entertainment LLC
2D Animation Supervisors
Aaron Blaise
Dominic Carola
2D Line Producer
Iris Pearson
2D Animators
Erin Humiston
Darko Cesar
Head of Clean-up 2D Animation
Janelle Bell-Martin
2D Clean-up Artists
Mi Yul Lee
Teresa Quezada-Geer
Jacque Pierro
Chad Thompson
Jason Peltz
2D Compositor/Scene Setup
Mac Masters
2D Artistic Coordinator
Pam Darley
2D Digital Artist
Anthony West
Enoc Castaneda
2D Lead Colourist/Coordinator
James Lancett
2D Colourists
Sean Weston
Joseph Sparkes
Frankie Swan
Harriet Gillian
Assistant 2D Colourist
Lila Peuscet
2D Illustrator Technician
Albert Sala
Printers
The Graphical Tree
Laser Cutting
Ewen Dickie
Designer/Typographer
Robert Frank Hunter
Storyboard Artists
Sav Akyuz
Steve Tappin
James Lancett
Robert Frank Hunter
3D Technical Director
Patrick Hearn
3D Previsualisation Artist
Simone Ghilardotti
Lucas Cuenca
Johannes Sambs
Lead Stop-Frame Animator
Andy Biddle
Stop-Frame Animators
Daniel Ojari
Daniel Gill
Production Designer/
Supervising Modeller
John Lee
Art Department Modellers
Colin Armitage
Sonya Yu
Maggie Haden
Collette Pidgeon
Yossel Simpson Little
Richard Blakey
Gary Welch
Christy Matta
Lucy Begent
Scenic Painters
Fiona Stewart
Beth Quinton
Rigging Department
Richard Blakey
Art Department Assistants
Morgan Faverty
Anna Ginsburg
Jennifer Newman
MOCO/Camera Assistant
Max Halstead
Director of Photography
Toby Howell
Gaffer
Aldo Camilleri
Runner
Robert Gould
Post Production
Blinkink Studios
Post Production/Compositing
Alasdair Brotherston
Ian Sargent
Carlos Diego
Jonathan Gallagher
Elliot Dear
Editors
Sam Sneade at Speade
Ellie Johnson at Speade
Sound Design
Sam Robson at Factory Studios
Colourist
Jean-Clement Soret at MPC
‘Making of ’ Film
Jake Hopwell & Josh Hine
Studio Manager
Elizabeth Day
Studio Assistant
Toby Goodyear

Catering
Laura Barbi
Advertising Agency
Adam & Eve DDB
Executive Creative Director
Ben Priest
Creative Directors
Aidan McClure
Laurent Simon
Agency Producer
Anthony Falco
Assistant Producer
Catherine Cullen

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Matthias Hoegg: “Upstairs”

If you haven’t already watched Matthias Hoegg’s latest short, “Upstairs,” now is a good time to sink your eyes into it. If you’ve already seen it, watch it again. It rewards repeat viewings.

The short looks at the ways our imaginations run wild when given the slightest bit of sensory input — and how sometimes we don’t want to know the truth, even when it’s attainable.

Hoegg has a knack for crafting clever visual systems that act like narrative engines, pushing stories forward with a language of design. His characters operate in a playful space between iconography and naturalism that makes for unique, memorable experiences.

“Upstairs” was created for Random Acts on Channel 4 through Not To Scale.

“Thursday”

Also make sure to check out Hoegg’s BAFTA-nominated “Thursday.”

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Jonathan Jarvis and Ray Dalio: How the Economic Machine Works

Jonathan Jarvis burst onto the scene (or at least onto Motionographer’s homepage) back in 2009, when he created an extremely helpful 10-minute animation, “The Crisis of Credit Visualized.” The short film used iconographic imagery, concise narration and simple animation to explain how the 2008 credit debacle began. In addition to clearing up a lot of confusion, it was a powerful example of motion design’s ability to inform and educate general audiences about topics that might otherwise be impenetrable.

Jonathan is back, this time partnering with Ray Dalio, founder of the investment firm Bridgewater Associates — who, incidentally, had been raising the alarm about the 2008 crisis well before the actual catastrophe struck. At a staggering 30 minutes in length, “How the Economic Machine Works” (above) is based on an educational project authored by Dalio. It introduces general audiences to a cyclical model of the economy, which Dalio says is foundational to his success.

UPDATE: Props to studio Thornberg & Forester, who helped with concepting and handled all the animation, and Big Foote, who tackled the music and sound design. Sustaining the level of detail and clarity required for this project is no small feat.

While prepping for an upcoming article that I’m writing for Computer Arts magazine, I asked Jonathan Jarvis to explain why motion design is so well suited to explaining complex material like Dalio’s paper.

Jonathan Jarvis on motion design, “explainer” videos and the role of simplicity

Motion design works well for explaining complex concepts because it forces distillation. You have these concentrated visuals that communicate very quickly. The distilled visuals serve as anchors that take the heavy descriptive lifting off the narration’s shoulders, freeing it up to focus on the big picture. The narration describes some of the less tangible concepts that are difficult to visualize, and prevents the visuals from having to illustrate absolutely everything.

Pairing graphics with narration gives you a ‘the whole is more than the sum of the parts’ effect. A good animated explainer with have the narration and graphics compliment each other:

The visuals keep the details clear and the narration keeps the big picture clear.

Motion design is more effective than footage of talking heads for explaining complex concepts because the visuals are more informative and provide a better compliment to the narration. Talking head footage is mostly redundant to the narration. Imagine a video of someone talking and describing a collateralized debt obligation vs. an animated diagram of a collateralized debt obligation with the same description used as narration.

The sound design, music, and style of the graphics also play a big role. In an effort to let you focus on the big picture, I try to make every character and action look, sound, and act consistently. As the animation progresses, the characters and actions become familiar and (hopefully) intuitive. I want you to focus on the context and relationships between them instead of trying to remember who they are.

That’s one of the reasons I use very simple, graphic styles. Each character should use as little detail as possible to represent a concept. It’s the relationships between the characters and concepts that I’m trying to communicate: this-makes-that-happen. The characters aren’t the stars, the relationships between them are.

It’s different from a data-visualization. I actually try to keep numbers out of my pieces as often as possible. I try to aim for something more akin to information design or ‘knowledge design’ as I sometime call it.

Anyway, those are a few reasons I think motion design is special and has huge, barely tapped potential to help explain complex concepts, make the intangible tangible and help us understand our complicated world.

The Crisis of Credit Visualized

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